“The Hunting Ground” Exposes College Administrative Negligence

Over the last few years, I have been no stranger to the culture of sexual assault on college campuses. But watching “The Hunting Ground,” a new documentary by Kirby Dick and Amy Ziering ’84, makers of “The Invisible War,” even I was surprised and sickened by the horrifying assaults suffered by so many students and, perhaps more so, by the way in which survivors were treated by their colleges and by the media. The film begins with a touching montage of home videos showing students reacting to t

Amherst Cinema Screens the Witty “What We Do in the Shadows”

One-half of the Flight of the Conchords duo who brought you “Business Time” and “Foux de Fa Fa,” and the genius behind award-winning “Boy,” are back with “What We Do in the Shadows”— a feature-length film that in my opinion trumps any of the Flight of the Conchords’ most famous videos. It’s not just a documentary, not just a vampire movie — it’s a vampire mockumentary. Jermaine Clement (of Flight of the Conchords) and Taika Waititi (“Boy”) have created something funny and subversive, and they ta

Measured Acting Makes up for Suspect Cinematography in “Still Alice”

The heroine of “Still Alice,” in the months after she begins to lose her memory, quotes this Elizabeth Bishop poem “One Art” to an audience of family, friends, and strangers. She gives the speech haltingly but with a sort of quiet confidence, highlighting each line she has read so that she does not repeat herself. Julianne Moore as the slowly-deteriorating Alice Howland delivers a quietly sympathetic performance — it’s no surprise that she won an Academy Award for it. “Still Alice,” directed b

“The DUFF” Attempts to Break New Ground in Teen Comedy Genre

Ah, high school: a hotbed of friend drama, teen angst, and a realm often haphazardly portrayed in Hollywood. “The DUFF,” directed by Ari Sandel, tries to be an original contribution to the teen comedy genre, but is ultimately unable to reinvent overused tropes, no matter how many hashtags it employs. Bianca Piper (Mae Whitman) is the DUFF, or “Designated Ugly Fat Friend,” as sexy football jock Wesley Rush (Robbie Amell) calls her at a party. Bianca is the approachable one, the one who makes her

“The Other Side” Kicks off Senior Thesis Season With Ambition

“The Other Side,” written by and starring Pepper Dee ’15 and directed by Ron Bashford, played this weekend in Holden Theater. All three nights were sold out, with dozens of students turned away. Dee’s play is the first of four senior theater and dance theses this semester, and Dee has set the bar high for the three performances to follow. The set of “The Other Side” is an amalgamation of the two worlds that the play encompasses: that of the real world (the unnamed protagonist’s bedroom), and th

Rogen and Goldberg Miss the Mark With "The Interview"

Seth Rogen and James Franco are back with “The Interview,” another one of their infamous “circle-jerks” with a twist: Arrogant talk show host Dave Skylark (Franco) and his producer Aaron Rapoport (Rogen) get the once-in-a-lifetime opportunity to interview the dictator of North Korea, Kim Jong-un (Randall Park). With all the controversy surrounding the film’s release, I expected something uproariously clever or at least intelligently offensive. Sadly, “The Interview” ended up being very average.

Redmayne and Jones Triumph in “Theory of Everything” Roles

James Marsh’s “The Theory of Everything” is part love story and part biopic, but sadly doesn’t highlight enough of either. Having bawled at the trailer twice, I went into this movie with high hopes, but felt like I was being led too quickly through a man’s life, peering into each formative chapter and craning my neck to see more before being jerked on to the next. However, brilliant acting on the part of Eddie Redmayne as Stephen Hawking and Felicity Jones as Jane Wilde, as well as Marsh’s sleek

Disney Triumphs With Heartwarming “Big Hero 6”

Disney’s first venture into the Marvel world is poignant and hilarious, with “Big Hero 6,” in theaters Nov. 7. Based on the eponymous Marvel comic, “Big Hero 6” tells the story of teenage genius Hiro Hamada (Ryan Potter), who must choose whether to use his intellect for money or for discovery. He also must choose between revenge and forgiveness. It’s a lot to cover in 102 minutes, but “Big Hero 6” pulls it off, albeit with a few bumps and awkward plot developments. “Big Hero 6” wraps up very ser

Which Black is Best? “Dear White People” is Flawed But Provocative

“Can we have a movie with characters instead of stereotypes?” Echoing a question posed by his protagonist, director Justin Simien challenges the American public — and himself — to answer this question with his film “Dear White People,” released Oct. 17. It’s a worthy attempt, but I’m not sure he succeeds. Tessa Thompson plays Samantha White, an outspoken activist and the host of a radio show called “Dear White People.” When she beats out crowd favorite and incumbent Troy Fairbanks (Brandon P.

Delightfully Detestable Characters Make “Gone Girl” a Movie to Remember

Amy Dunne is gone before we ever meet her in “Gone Girl,” initiating a frenzied witch-hunt where all fingers point at her husband, Nick Dunne (Ben Affleck). The film, directed by David Fincher, is a faithful adaptation of Gillian Flynn’s 2012 novel of the same name. It’s told from the perspective of our supposed wife-killer in the days after Amy (Rosamund Pike) goes missing, as well as from the perspective of Amy Dunne herself as she reminisces about a joyful marriage gone awry via the chapters

Chastain and McAvoy Bring Star Power to First Film of a Trilogy

“The Disappearance of Eleanor Rigby” is about a man who loves a woman, and a woman who loves a man — so says the trailer. What sets this film apart from other dramas is that it’s a three-film drama told from three different perspectives: Eleanor Rigby (Jessica Chastain), Conor Ludlow (James McAvoy) and the objective omniscient. “The Disappearance of Eleanor Rigby: Them,” was first released Sept. 12, but viewers must wait another month to experience the love story from the independent perspective

“Boyhood” Impresses at Amherst Cinema

I had two initial thoughts during the closing credits of Richard Linklater’s 2014 film, “Boyhood.” First, I reveled in the originality of the film, both in its lengthy 12-year production and in its superb execution. Secondly, I found myself disappointed with Mason, the protagonist of the film, who ends up as an annoying maladjusted hipster teenager by the end of the film. After reading glowing reviews for “Boyhood” prior to seeing it myself, I did not want to write the typical “best film of the